After the death of his wife a elder accordion maestro Ignacio Carrillo (Marciano Martínez) decides that time has come to part with his profession. The dispirited musician therefore undertakes a long journey throughout Colombia to return the devil's accordion to his teacher - only than will he be able to lift the curse, which forces his life to be filled with music. On leaving the village he is joined by a young boy Fermin (Yull Núñez), who wishes to be taught in the arts of the accordion and return home with a new found fame.
More like a fable (devoid however of magic or mythical creatures), than a typical feature, the film slips us through many exquisite locations as we follow the two heroes. The majestic background acts like a supporting character in the story, where it creates a mood and also is the counterpoint for the grim mysterious finale. Full with odd and quirky events and persons we also get to catch a glimpse of a different world, not centred around Western culture, but on very local traditions. This is mostly done without the use of words, but through situations punctuated by songs. Its important to note that although the movie permeates with music their is none in the background - all songs are played by the characters, whilst without them their is only the silence of nature.
The plot as it is is scarce, but it needs to be underlined that the story, built around music and concepts of destiny, is well told and needs no add-ons to punctuate the story, which does need to be deciphered to be fully understood. My take on it is as follows: As Ignacio struggles to end his addiction to music and all the hardships it has caused (endless journeys, roadside lovers and concurrent children) he is faced with a youthful Fermin, who wishes to take on the same path. Ignacio is driven by no ulterior goal or love of music. He simply can not stop playing, can not live without his instrument, but at the same time only money seems to motivate him to continue playing the accordion - not out of joy, but out of necessity and an inability to chose a different path in life. Destitute at his fate he tries to dissuade Fermin from taking a similar path, constantly stating that his young companion lacks any credible talent. Despite this Fermin continues the journey and when an occasion comes he proves the old maestro to be wrong. But only when they both reach their destination odes Fermin understand the old man. Once there they find only a coffin with the remains of Ignacio's teacher, surrounded by his many children. Once there he heart-wrenchingly plays the same tune, that Fermin inadvertently tried to perform earlier in the story. Ignacio remains with the accordion fated to live at his days playing his accordion, whilst Fermin cries at the realisation of the amount of sacrifice and hardships, that music brings to its creator. He leaves accompanied only by a harsh silence and the brutal power of nature.
Nonetheless "The Wind Journeys" is far from flawless. Whereas it remains unanimously beautiful in sound and in picture it falls into a self-imposed artistic trap, where scenes of people staring at each other with supposedly meaningful gazes (as if borrowed from a Sergio Leone spaghetti western) are input too often and you suddenly start seeing past the story being told and visualise the actors following the directors suggestions. The story itself very dangerously borders on the line of becoming overly superficial, while the message itself does reek of old-age stories about the indescribable sufferings of an artist. Despite the credible storytelling, beautiful landscapes and underlying mystical force that the movie manages to create, I failed to accept the story and its self-serving context.
More like a fable (devoid however of magic or mythical creatures), than a typical feature, the film slips us through many exquisite locations as we follow the two heroes. The majestic background acts like a supporting character in the story, where it creates a mood and also is the counterpoint for the grim mysterious finale. Full with odd and quirky events and persons we also get to catch a glimpse of a different world, not centred around Western culture, but on very local traditions. This is mostly done without the use of words, but through situations punctuated by songs. Its important to note that although the movie permeates with music their is none in the background - all songs are played by the characters, whilst without them their is only the silence of nature.
The plot as it is is scarce, but it needs to be underlined that the story, built around music and concepts of destiny, is well told and needs no add-ons to punctuate the story, which does need to be deciphered to be fully understood. My take on it is as follows: As Ignacio struggles to end his addiction to music and all the hardships it has caused (endless journeys, roadside lovers and concurrent children) he is faced with a youthful Fermin, who wishes to take on the same path. Ignacio is driven by no ulterior goal or love of music. He simply can not stop playing, can not live without his instrument, but at the same time only money seems to motivate him to continue playing the accordion - not out of joy, but out of necessity and an inability to chose a different path in life. Destitute at his fate he tries to dissuade Fermin from taking a similar path, constantly stating that his young companion lacks any credible talent. Despite this Fermin continues the journey and when an occasion comes he proves the old maestro to be wrong. But only when they both reach their destination odes Fermin understand the old man. Once there they find only a coffin with the remains of Ignacio's teacher, surrounded by his many children. Once there he heart-wrenchingly plays the same tune, that Fermin inadvertently tried to perform earlier in the story. Ignacio remains with the accordion fated to live at his days playing his accordion, whilst Fermin cries at the realisation of the amount of sacrifice and hardships, that music brings to its creator. He leaves accompanied only by a harsh silence and the brutal power of nature.
Nonetheless "The Wind Journeys" is far from flawless. Whereas it remains unanimously beautiful in sound and in picture it falls into a self-imposed artistic trap, where scenes of people staring at each other with supposedly meaningful gazes (as if borrowed from a Sergio Leone spaghetti western) are input too often and you suddenly start seeing past the story being told and visualise the actors following the directors suggestions. The story itself very dangerously borders on the line of becoming overly superficial, while the message itself does reek of old-age stories about the indescribable sufferings of an artist. Despite the credible storytelling, beautiful landscapes and underlying mystical force that the movie manages to create, I failed to accept the story and its self-serving context.